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2 results

  • 16 - Imaginative Creativity in the Writing and Reading of Stories

  • from Part III - Modes of Enhancement
  • Edited by Sandra W. Russ, Case Western Reserve University, Ohio, Jessica D. Hoffmann, Yale University, Connecticut, James C. Kaufman, University of Connecticut
  • Book:
    The Cambridge Handbook of Lifespan Development of Creativity
    Published online:
    19 November 2021
    Print publication:
    25 November 2021, pp 351-367

  • Summary

    In this chapter, the creative processes that are explored include those of writers and readers. Narrative stories derive from conversation, which is thought to have begun with the evolution of language between 500,000 and 100,000 years ago. Conversation is a mode in which people develop and sustain relationships by sharing memories, perceptions, emotions, anecdotes, thoughts, and understandings – pieces of consciousness – with others. It’s fundamentally creative; each conversation today, engaged in by each of the world’s 7.5 billion inhabitants, with relatives, friends, and other people, is unique, as have been all other conversations. Written stories, which started some 5,000 to 4,000 years ago, have taken this further, with pieces of consciousness being sent by writers to others whom they do not usually know.

  • 9 - Literary trends I: the quest for modernity, 1895–1927

  • Edited by John K. Fairbank
  • Book:
    The Cambridge History of China
    Published online:
    28 March 2008
    Print publication:
    30 September 1983, pp 451-504

  • Summary

    The study of modern Chinese literature is burdened with China's modern history. It origins can be traced to the late Ch'ing period, more specifically to the last decade and a half from 1895 to 1911. This chapter commences with a discussion on this period. For at least two decades before the 'literary revolution' of 1917, urban literary journalism, had already established the market and the readership for the latter-day practitioners of New Literature. Two prevalent forms of fiction writing can easily be discerned on the late Ch'ing literary scene: the social novel and the sentimental novel in which the central focus is on human emotions. For the May Fourth youths 'riding on the tempestuous storm of romanticism', 40 love had become the central focus of their lives. By the May Fourth period, Su Man-shu's legacy, had become a new convention: foreign literature was used to bolster the new Chinese writer's own image and lifestyle.